User manual E-MU MOPHATT

[. . . ] Box 660015 Scotts Valley, CA USA 95067-0015 Telephone: 831-438-1921 Fax: 831-438-8612 Internet: www. emu. com Europe, Africa, Middle East E-MU / ENSONIQ Suite 6, Adam Ferguson House Eskmills Industrial Park Musselburgh, East Lothian Scotland, EH21 7PQ Tel: +44 (0) 131-653-6556 Fax: +44 (0) 131-665-0473 The following are registered worldwide trademarks owned and/or exclusively licensed by E-MU Systems, Inc. : E-MU® and E-MU Systems®. Important Notice: In order to obtain warranty service on your Mo'Phatt unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on the Mo'Phatt, please contact E-MU Systems at once. patents: 4, 404, 529; 4, 506, 579; 4, 699, 038; 4, 987, 600; 5, 013, 105; 5, 072, 645; 5, 111, 727; 5, 144, 676; 5, 170, 367; 5, 248, 845; 5, 303, 309; 5, 317, 104; 5, 342, 990; 5, 430, 244 and foreign patents and/or pending patents. [. . . ] Adjacent segments must have different levels for the rate control to work. Atk 2 Dc y1 Dcy2 Rl s1 Rls2 level time k1 Sustain Key Down Key Released All three envelope generators have the six stages described above. The Volume Envelope generator controls the volume of the voice over time. The Filter Envelope generator is a general purpose envelope most often used to control the filter frequency. Unlike the Volume Envelope, however, the Filter Envelope can have a negative level value as well as a positive level. There is also an Auxiliary Envelope generator which is a general purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope and can have negative as well as positive levels. You can adjust the time of each stage to create myriad envelope shapes, which in turn shape the sound over time. O By routing the Auxiliary or Filter Envelopes to control the pitch (PatchCords) you can easily hear the shape of the envelopes you are creating. · Volume envelopes contour the way the volume of a sound changes over time determining how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. Using Mo'Phatt's Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming them appropriately. Mo'Phatt Operation Manual 87 Programming Basics Envelope Generators Tempo-based Envelopes Tempo-based envelopes are based on Time which is controlled by the Master Clock (located in the Arp/Beats menu). The Master Clock rate scales the time of the Tempo-based envelope segments. The Master Clock can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes. Tempo-Based Envelopes = Initial Setting = Increase Master Tempo = Decrease Master Tempo Envelope Repeat The Envelope Generators can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2). Only the Filter and Auxiliary Envelopes have the repeating feature. 1 Dcy Atk 1 Atk 2 Dcy 2 Rl s1 Rl s1 level Repeat time Re. . Key Down Key Released The diagram above show how the looping envelopes work. When the key is pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 and Decay 2 stages. In non-looping mode, the envelope would hold at the end of the Decay 2 stage until the key was released. In looping mode however, it jumps back to the Attack 1 stage and repeats the first four stages. It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage. 88 E-MU Systems Programming Basics Low Frequency Oscillators (LFOs) Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The LFO waveforms are shown in the following illustration. Random Triangle Sawtooth Sine Squ are 33% Puls e LFO Tricks & Tips: · The Random LFO wave is truly random and is different for each voice and layer. · The Pattern (Pat) waveforms will sound the same on different layers and voices. · Sine + Noise is very useful for simulating trumpet and flute vibrato. Pat: Octaves + Octave G - Octave C C 2 5 % Pu lse 1 6 % Pu lse 12% Puls e Pat: Fifth+Octav e C Pat: Sus 4 tr ip F G 5 When routing Hemi-quaver to Pitch: +38 = major scale -38 = phrygian scale +76 = whole tone scale (+38) + (+76) = diminished (two cords) Pat: Neener C A# G Sine 1 , 2 Sine 1, 3, 5 odd amount = S+H sound Sine + Noise Hemi-qu aver Note: References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of +38. By examining the diagram of the LFO waveforms, you can see how an LFO affects a modulation destination. The square wave changes abruptly and abruptly changes from one pitch to another. Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves. [. . . ] The complete SysEx specification for Mo'Phatt is available on the official E-mu Systems, Inc. web site: www. emu. com 224 E-MU Systems Appendix Technical Specifications Technical Specifications Audio Channels: MIDI: MIDI Channels: Presets: 64 MIDI In, MIDI Out, MIDI Thru 16 512 user presets. (The number of ROM presets is determined by the sound SIMMs installed. ) 6th Order (50 different types) 2 polyphonic analog outputs, 20-bit DACs +4 dB 1000 Ohms 32 MB (expandable to 64 MB) 16-bit linear data 24-bit internal processing 44. 1 kHz >92 dB >90 dB 20 Hz - 20 kHz (+2/-1 dB) < 0. 02% (1kHz sine wave, A-weighting) < 0. 05% Phase Coherent +/- 1º at 1 kHz 15 Watts 90VAC-260VAC at 50Hz-60Hz H: 1. 75 inches W: 19 inches L: 8. 5 inches 6 lb. , 14 oz. Output Level: Output Impedance: Sound Memory: Data Encoding: Effects Engine: Sample Playback Rate: Signal to Noise: Dynamic Range: Frequency Response: THD + Noise: IMD Stereo Phase Power Consumption: Voltage Input: Dimensions Weight Mo'Phatt Operation Manual 225 Appendix Props Props Sounds Fred Zimmerman G. LOW. O. r?m. [. . . ]